The idea of grotesque stylization wasn’t accepted. In … An exclusive interview with photographer William Klein and a first-ever glimpse behind the scenes at his Paris studio. Apr 10, 2016 - "Almost everything is coincidence and luck and chance." I have about an hour of edited film where he is shown as totally irresponsible, which he later revealed himself to be. William Klein (born April 19, 1928) is an American-born French photographer and filmmaker noted for his ironic approach to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography. See available photographs, prints and multiples, and paintings for sale and learn about the artist. I had a dream recently, and I still don’t know whether it was a dream or not. A month shy of his 85th birthday, the influential postwar photographer, filmmaker, painter and graphic artist sat down for an interview with WWD. And there was another part in a gigantic sex shop where fashion was treated as an under-the-counter commodity — girls performing in peepshows, and so on. I thought that the other photographs that I was doing—the abstract photographs, the realistic photographs, the New York photographs, and so on—were more interesting. William Klein is one of the twentieth century's most important photographers and film-makers and. It was something l did in my schizo-militant period, an agit-prop film. Igor Mitoraj ... William Klein interview in Paris 2012 with John Stoddart - Duration: 4:58. Documentary Expressionism: The Films of William Klein →, Documentary Expressionism: The Films of William Klein. William Klein 1954-1955 Book Review - Duration: 6:58. People said, ‘What a put-down — New York is not like that. So I developed just a part of it about this model couple in a model apartment who were being tested night and day — a science fiction farce. Apr 10, 2016 - "Almost everything is coincidence and luck and chance." It was shot at the end of ’67 and the beginning of ’68, but the French government censored it for nine months, thinking it was about May ’68. AS: So how did you go from making abstract black-and-white images in the darkroom to taking photographs on the streets of New York? He was at the Algiers festival, saw what I was doing, and asked if I would do a film on him. WK: It wasn’t a problem, just an observation I had to make. To them. An excerpt from Aaron Schuman's interview with William Klein from Aperture Issue 220. He said reasonable and unreasonable things, but in my zeal to make a statement — and also because it was an Algerian government production — I censored the craziness. Good Time Look. In this excerpted portion of their conversation, he speaks about his remarkable career, now in its seventh decade, about dreaming in black-and-white, and his celebrated fashion photography. But Ali was something else. This was the era in which Klein turned to moving images, having just made his first film, Broadway by Light, in 1958: he would become known for his fashion-world satire Who Are You, Polly Maggoo? How Alice Rose George Shaped a Pivotal Era in Photography, A Blazing Suburban Gothic Imagines the American West on the Brink, The Belated Celebration of the Kamoinge Workshop, The Counterculture Collective Who Wanted to Save the Earth, Finding Trance and Transcendence in Vasantha Yogananthan’s Photographic Epic, How Photographers Responded to the Arab Spring, Aperture’s Best Photography Features of 2020, The Queens Photographer Building a Legacy for His Friends, An Exhibition in Tucson Looks at the Things We Leave Behind, Dawoud Bey on the Photography World, Past and Present. For me, getting involved in that situation was like riding a bike blindfolded. I was interested in photography and in photographic ideas. On Eldridge Cleaver, Black Panther (1970). View William Klein’s 1,299 artworks on artnet. And everybody is so thankful for this super spectacle. From a 1989 catalog that I did for the Walker Art Center, Cinema Outsider: The Films of William Klein. The only things that were salable or publishable at the time were fashion photographs. It was so precise, and everybody was the way that they should be. If you are a fan of William Klein, check out this nearly 2-hour interview with MADMuseum. I was a primitive, and the photographs I was taking for myself were at the level of zero in terms of the evolution of photography. Little Richard was down and out at the time, and he dreamed of being a black Billy Graham. – William Klein (1990) In an interview with Klein (in his Aperture Monograph book), he shares how much American publishers abhorred his work: “In the 1950s I couldn’t find an American publisher for my New York pictures,” he says. “His assistant pleaded, ‘But he’s come all the way from England!’”. Those who didn’t think I took them seriously enough. So it didn’t come out until ’69. In fact, his first film, a short with a boxer, was an extension of a picture story that he did for Look magazine; I remember having seen it when it came out. By the time William Klein made his first film Broadway by Light in 1958, he had already revolutionised one medium with his first photographic book, Life Is Good & Good for You in New York: Trance Witness Revels, published two years earlier. I did this book on New York: black-and-white, grungy photographs. And I never got an answer! On Le couple témoin (The Model Couple) (1975-1976). But at that time, I was on a binge after having done Festival Panafricain (1969). AS: Before shooting any fashion photographs for the magazine, you also published a series called “Mondrian Real Life: Zeeland Farms” in Vogue in 1954. I was twenty-four or twenty-five, something like that, and when you’re twenty-five you can do that sort of thing; if you decide to do it, you just do it. Klein, eighty-seven, had been up until four thirty in the morning the night before and was having a rest. FAQ In his living room in Paris, William Klein flips through the new edition of his book, Tokyo, which just arrived from Japan. Klein, always particular, is pleased with the quality of the thick, glossy paper which enhances the contrasts of his 1961 photographs. Another section became True Confessions: everything looked like a magazine spread. WK: Well, once I had the possibility of enlarging in a darkroom, I realized that the other photographs I’d been taking at the time were not as bad as all that. But you know, fashion magazines at that time were the monthly dose of culture that women would get—theater, painting, exhibitions of all kinds—so those photographs fit in with the philosophy of Liberman. — J.R. William Klein on His Film Work. The work of the 89-year-old filmmaker and photographer is still just as hard-hitting as when it was first created, especially his satire of American jingoism. I’d like to do sequels to both Muhammad Ali and Eldridge Cleaver, you know. Distribution Finally, Klein entered the room, eyes wide and shining. Klein’s wife Janine with painted turning panels, Milan, 1952. When the film was to be done, they were to produce Little Richard. AS: I was just looking through some of your old magazines, and saw that the first body of work you published in Vogue was selections from Black and Light. So I turned the bathroom in the hotel I was living in into a darkroom, and had access to a darkroom in my apartment. A lot of French critics said it wasn’t realistic. Money Village Wife. In Zaire, in 1974, they were saying that George Foreman was unbeatable and that Ali was over the hill. I like Kubrick a lot, actually. AS: Did you enjoy working for such magazines at that time, when they had an important cultural influence as well as being about fashion? That's the thing about photography. After graduating early from high school, he began studying sociology at the City College of New York. - William Klein His photographs; often blurred or out of focus, his use of high-contrast prints, high-grain film and wide angles, shocked the established order of the photography world. William G. Kaelin Jr The Nobel Prize in Physiology or Medicine 2019 Born: 23 November 1957, New York, NY, USA Affiliation at the time of the award: Howard Hughes Medical Institute, Chevy Chase, MD, USA, Dana-Farber Cancer Institute, Brigham and Women’s Hospital, and Harvard Medical, Boston, MA, USA It was Godard being a nice New Yorker. The rest were just part of a system, and the more I looked at their photographs, the more I felt that there weren’t any really interesting ideas behind them. They were wrong. This isn’t New York – too ugly , too seedy and too one-sided.’ It was a way of making a living. Jul 11, 2014 - Alongside his acclaimed photography work, William Klein has spent the last 50 years making probing documentaries and irreverent features. Would you like to see it?” I showed it to him in the boat’s movie theater, and he said, “This is the first film I’ve ever seen in which the color is absolutely necessary.”, On Qui etes-vous, Polly Maggoo? William Klein: Black and white, of course. With the fashion designer Jean-Paul Gautier, I did a fake documentary about street-singing, clichéd Paris in which he dressed a whole neighborhood of a few hundred people — in the marketplace, the whores and the pimps, everyone. A great watch to check out over this weekend! Art. He was exhibiting his paintings, and people were saying, “Oh Jean-Luc, you have to come to my studio—I have some nice paintings to show you.” And he would say, “Of course!” which is so little like him. William Klein. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. About thirty girls were put in a white box with exaggerated perspectives. In 1946 he joined the U.S. Army and was stationed in Germany, where he won his first camera in a poker game. Thanks to Jonas Petermann for sending over the link! Memories. Photography. Although similar in subject matter to other street photographers such as Diane Arbus and Saul Leiter, as well as fashion photographers Irving Penn and Richard Avedon, Klein’s images break from established modes. WK: I thought it was kind of bullshit photographing a dress, because I couldn’t care less. Then, when I met with Liberman again, he asked to see some of the stuff that I was doing, and when he saw those photographs he decided to publish a little portfolio of them in Vogue, which was unusual because it was a fashion magazine. But now, if you want to win an argument about a film, you can always say it’s a comic strip reference. When I would do a session of fashion photographs my wife would ask, “What was the fashion like?” and I would say, “I have no idea.”. It’s incredible. William Klein’s spoof of American patriotism is even more relevant today March 8, 2018. William Klein. Aperture Magazine - September 15, 2015 When writer Aaron Schuman first arrived at William Klein’s apartment, five stories above Paris’s rue de Médicis, he was ushered into Klein… William MP Klein is Associate Director of Behavioral Research in the Division of Cancer Control and Population Sciences, National Cancer Institute. (1966), starring model Dorothy McGowan, and Muhammad Ali: The Greatest (1974), his cinema verité documentary on the fighter, among others. Black Barn + White Lines, Island of Walcheren, 1952. Klein talks about working on the streets, in the studio, and on making his feature films. Privacy Policy Staff William Klein is one of the twentieth century’s most important photographers and film-makers and in this interview for Tate Media, he discusses his experience photographing on the streets of New York, the challenges in publishing his first New York book and how he worked with filmmaker Federico Fellini. Le Petit Magot, Armistice Day, Paris, 1968. His photos have been described as being a lyric combination of black humor, acerbic social observation and daring graphic invention.’ I had a big project I wanted to do around 1973. You know, when I did the first film on Ali in 1964 he was Cassius Clay, and I called it Cassius le grand. He’s a prick, actually; I know him pretty well. Click here to see an interactive timeline which details the history of Aperture. In one sequence with the designer Alaïa I used Grace Jones and the model Linda Spierring; they played a scene from Marivaux with their dresses changing after every sentence. Afterwards, I went from New York to Paris on a boat. Kubrick saw Polly Maggoo in his private screening room. I looked at the fashion magazines, and I was really convinced that I couldn’t do anything like what the fashion photographers were doing; I mean, I thought their technique was beyond my reach. Another sequence was like a B-movie thriller. The film-maker and photographer was born in the former, but has lived in the latter for more than 60 years, where I meet him at home. I guess my position is pretty marginal everywhere — then and now. Recently, Klein has been revisiting some of his first experiments with still photography, abstractions from the early 1950s, some of which were exhibited at his London gallery last fall. WK: Why not? William Klein is one of the twentieth century’s most important photographers and film-makers and in this interview, he discusses his experience photographing on the streets of New York, the challenges in publishing his first New York book and how he worked with filmmaker Federico Fellini. (Who Are You, Polly Maggoo?) William Klein Celebrity Profile - Check out the latest William Klein photo gallery, biography, pics, pictures, interviews, news, forums and blogs at Rotten Tomatoes! We were on the pier with all our suitcases when I saw Orson Welles with a cigar and a little attaché case – that’s all he had as luggage. (1965-1966) and Stanley Kubrick. At one point they planned a black-heritage Bible. Shawnee Union 1,058 views. They reminded me a little bit of the Dutch houses in Pennsylvania, and I learned that Mondrian had lived there during World War I. I thought that there must be some relationship between what he saw there and what he was doing later, so I photographed them. So when I went back to New York, I had an idea of doing a book. Klein, always particular, is pleased with the quality of the thick, glossy paper which enhances the contrasts of his 1961 photographs. Paris Interview: William Klein William Klein’s approach to photography challenges the way people see the world. William Klein (American, b. April 19, 1928) is a photographer best known for incorporating unusual elements into his photographs and videos. Interview with photographer, William Klein William Klein is an American-born French photographer and filmmaker noted for his ironic approach to both media and his extensive use of … Get the best of Aperture in your inbox every day. WK: Yes, my wife inherited a house on the Dutch and Belgian frontier. The original title was The State of the Union. They wanted to make, out of nothing, new cities, and I wanted to show how ridiculous all this was. Interview with the photographer and film-maker William Klein in his Paris apartment in December 2012. Interview. Jean-Luc Godard was there, it was a Saturday, and there was an art opening. He turned to art at a young age as a way to escape from his peers. But nobody else was really interested in them. In the middle of the shooting he decided he wasn’t getting enough money; he took off, and the Bible men sent detectives all over the country to find him. Terms of Use. William Klein is an artist known for his unconventional style of abstract photography depicting city scenes. Aperture, a not-for-profit foundation, connects the photo community and its audiences with the most inspiring work, the sharpest ideas, and with each other—in print, in person, and online. Klein made the following remarks in a telephone conversation with Jonathan Rosenbaum in early November 1988. The white press was scared to death and hypnotized by the bad mother. Then he wrote me a letter saying that the film was ten years ahead of its time, that he related to it very strongly, and that he felt we had a great deal in common. After an hour or so of thumbing through this Aladdin’s cave of trophies and treasures, Schuman heard Klein stirring in the rooms at the back of the apartment. All Work is Copyright Of Respective Owner, Otherwise © 2021 Aperture Foundation. Host an Exhibition, Contact Us William Klein is an American artist and filmmaker known for his unconventional style of abstract photography depicting city scenes. From a 1989 catalog that I did for the Walker Art Center, Cinema Outsider: The Films of William Klein. The photographer who revolutionised our way of looking at the city 60 years ago with his iconoclastic photo books on … I was very pleased by this letter. Aaron Schuman: Do you dream in black and white or color? How beautiful they are, and what an obsessive, brainwashing message they carry. When writer Aaron Schuman first arrived at William Klein’s apartment, five stories above Paris’s rue de Médicis, he was ushered into Klein’s living room by his assistant. One day we took our car and drove to the nearby island of Walcheren, and I saw these barns. Advertising There are thirteen sequences, and I tried to do each one in a different movie style. Art. This, you suspect, is the real story of William Klein's life: work as fun, with a little bit of confrontation thrown in. WK: Yeah, I was participating in a show called Salon des Réalités Nouvelles in Paris (1953), and Alexander Liberman—who was the art director of Vogue, and then became the art director for all of Conde Nast—left me a note asking me to come and see him. Tokyo is a major work by Klein, part historical document and part personal diary. “Everyone I showed them to said, ‘Ech! Mac DeMarco and Julian Casablancas on TikTok, Mozart, and Chick-fil-A The Quiet Sex Appeal of Andy Warhol’s Nudie Drawings AS: Were you frustrated by the fact that people were more interested in your fashion photography than in your art or street photography? But once I had the opportunity to take the negatives and print them my way, I realized that I could use what I had learned—about graphic art, painting, and charcoal drawings, and so on—in my printing. Explore. This would be the first of two visits with Klein for this interview, which touches on the course of his remarkable career: his now-classic books on cities, including his hometown in Life Is Good & Good for You in New York: Trance Witness Revels (1956), Rome (1958–59), Tokyo (1964), Moscow (1964), and Paris (2003), all alive with Klein’s signature kineticism; his 1960s fashion work for Alexander Liberman, the celebrated art director at Vogue. — J.R. Klein made the following remarks in a telephone conversation with Jonathan Rosenbaum in early November 1988. On Broadway by Light (1958) and Orson Welles. Tokyo is… “By the tone of his voice, I could tell that he had just woken up, and was reluctant to join me,” Schuman said. Well, there was this outfit that had the idea of hawking Bibles to unions for members who died, so instead of sending flowers they would send these thirty-, forty-, or fifty-dollar Bibles. William Klein is a man of two cities: New York and Paris. The people there were very friendly, and Godard was so, so nice, and also friendly. I went up to him and said, “Listen, I’ve just shot a film. Apr 22, 2019 - In his living room in Paris, William Klein flips through the new edition of his book, Tokyo, which just arrived from Japan. Cassius was the clown and didn’t have a chance. Read the complete interview in Aperture magazine. It was about New York. They never did. Photographers Tom Kiefer and Alejandro Cartagena. Anyway, I think it’s the first Pop film. Born in New York, he grew up as a Jewish boy in an area where anti-Semitism was common. April 3, 2013 • Try to put him in a box and he'll find his way out. William Klein is one of the twentieth century's most important photographers and film-makers and. You can be assistant art director or something.” We ended up deciding that I would do photographs, but I had no idea what kind of photographs I could do for Vogue. The French had these delusions of grandeur inherited from De Gaulle. I filmed Eldridge Cleaver for three days and three nights, practically nonstop, with hashish floating out the window. 6:58. New York is a million things, and you just see the seamy side.” So I thought I would do a film showing how seamy New York was, but intellectually, by doing a thing on electric- light signs. william klein’s retrospective, the eyes of william klein at the quad cinema, runs until march 13, 2018. William Klein is one of the twentieth century's most important photographers and film-makers and. You Can't Put A Headline On William Klein. I was just getting ready to do Mr. Freedom, and I wrote back immediately, saying that I was trying to raise money for my new film. Very few people know that he started out as a photographer. Explore. William Klein is starting all over again. I was scared myself. William Klein on His Film Work (1988 interview) Posted December 16, 2020. I washed the prints in the bathtub, and now these prints are considered “vintage prints”—they’re worth a lot of money. WK: I dream about a million things. But when I looked more closely, I thought they weren’t so hot as all that, and the only photographers that impressed me were [Irving] Penn and [Richard] Avedon. William Klein is one of the twentieth century's most important photographers and film-makers and. An excerpt from Aaron Schuman's interview with William Klein from Aperture Issue 220. Anyway, it was completely foreign to the whole movie scene here in France. Well, I was practically the only one from the media in his camp. The couple were Anémone and André Dussolier; it was her first commercial role and one of his first parts as well. Board of Trustees Why did Little Richard walk out of the film? So I did, and he said, “How would you like to work for Vogue?” And I said, “Doing what?” and he said, “Well, we’ll see. so the Bible people put him under contract for all media work. I thought it would be a good idea to look at New York with this half-European, half-native eye and really do something to get back at this city that I thought really gave me a hard time when I grew up. William Klein (b.1928) was born in New York City. [+] painter William Klein poses during an interview with AFP in Thessaloniki (Salonika) in northern Greece, 22 November 2007. William Klein is one of the twentieth century’s most important photographers and film-makers and in this interview for Tate Media, he discusses his experience photographing on the streets of New York, the challenges in publishing his first New York book and how he worked with filmmaker Federico Fellini. It was a film that actually made me some enemies in the fashion world (laughs). Jobs I never got the money to make this film, but I had a government advance. Paris 2012 with John Stoddart - Duration: 6:58 l did in my schizo-militant period, an agit-prop film Aaron. Ali and Eldridge Cleaver for three days and three nights, practically nonstop, with hashish out..., Paris, 1968 thirty in the fashion world ( laughs ) Muhammad Ali and Eldridge Cleaver, black (! That time, and I tried to do around 1973 completely foreign the! That Ali was over the hill grotesque stylization wasn ’ t have a chance. an from... 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